Roman Times by Bruce Fraser. For Concert Band (flute 1/2, oboe, clarinet 1/2, /3, Bb bass clarinet, alto sax 1/2, tenor sax, baritone sax, trumpet 1/2, F horn 1/2, trombone 1/2, euphonium, tuba, timpani, percussion 1 (snare drum) percussion 2 (3 toms) percussion 3 (bass drum) glockenspiel). Band Music. Grade 2.5. Score and parts. Duration 6:30. Published by C. Alan Publications (CN.R10259).
During a visit to the town of Saintes in South West France in the summer of 2003, I spent some time in the Roman amphitheatre there. It is a well preserved arena and I imagined what it must have been like to take part in the gladiatorial games. 'Roman times' is based on these images with the opening grand procession and its amazing mixture of Mediterranean peoples. The middle movement is an old fashioned love ballad followed by gladiators fighting in a very spirited battle to death or victory.

At the Dawn of War by Kevin Erickson. For Percussion Ensemble (Player 1 (glockenspiel, doumbek, finger cymbals), Player 2 (xylophone, 2-octave crotales), Player 3 (3-octave Vibraphone), Player 4 (3-octave vibraphone), Player 5 (4.3-octave marimba), Player 6 (4.3-octave marimba), Player 7 (5-octave marimba), Player 8 ). Percussion Music. Difficult. Score and parts. Duration 11:00. Published by C. Alan Publications (CN.10630).
The idea for this piece began to manifest itself early in the fall of 2000, with the original sketches following soon thereafter. I had intended to create a work that would depict different episodes in a day of war. By spring of 2001, the project had been moved to the back burner with no definite plans for completion. The following fall, I was able to revisit my sketches. Work had resumed for only a couple of weeks when our nation was struck by the tragic events of September 11, 2001. The flood of emotions that followed fueled my desire to see this project come to fruition. Focusing the direction of the project became increasingly difficult as the piece began to morph into something completely different than what had been originally intended. I had considered changing the title to An Act of War and new sketches were composed to depict the actual events of 9/11. As I grew increasingly frustrated with the progress of the work, I found that I did not want to glorify the attack on our homeland. I then looked back at the original ideas for the piece, ...and opted not to make the work programmatic in the traditional manner, but rather to let listeners conjure up images based on their own experiences.

Curios by Elyzabeth Meade. For Percussion Ensemble (Percussion 1: marimba, vibraphone, bass bow, Percussion 2: marimba, crotales, cello bow, bucket of water, Percussion 3: xylophone, crotales, cello bow, bucket of water, Percussion 4: glockenspiel, chimes, Percussion 5: vibraphone, bass bow, Percussion 6: ). Medium difficult. Score and parts. Duration 17:00. Published by C. Alan Publications (CN.05780).
This work contains three movements of differing textures and moods. The challenge and aim of this work was to glean differing characters out of an ensemble with relatively limited color and attack, compared to the myriad of colors in the percussion world.Spatial movement of sound sources is integral to the composition. At times the instrumental sounds blend together, at others they are in opposition, or moving spatially from side to side. Curios are odd and curiosity provoking artifacts. Thus, each piece is a resonance from looking at or holding various objects.

...all things hastened back to Unity by J.B. Smith. For Percussion Ensemble (Player 1(Glockenspiel, Crotales, 4.5 octave Marimba - shared w/player 5, vibraphone shared w/player 3), Player 2 (Xylophone, Glockenspiel, Vibraphone - shared w/player 4), Player 3 (Vibraphone, Glockenspiel), Player 4 (Vibraphone), Player 5 (Vibraphone, 4). Medium difficult. Score and parts. Published by C. Alan Publications (CN.07010).
"...all things hastened back to Unity" uses Greek philosopher Xenophanes' quote as a basis for its structure and motivic development. From an eight measure chord progression and a single arpeggiation pattern come all melodic and rhythmic material for the work. As with most of my compositions, musical personalities are introduced and developed within an abstract social context. By using organic self-containment, all musical motion and expression maintain relevance to the global macrocosm. In a simple way, the musical language has fractal properties: the overall architecture is illuminated by the actions of each musical moment.

Marimba Heritage by Mark Ford. Percussion Ensemble. For percussion ensemble (4 marimbas (2 low A, 1 low F, 1 five octave), 2 vibraphones, xylophone, glockenspiel, timpani). Level 5. Score and set of parts. Published by Innovative Percussion (IP.E-MF-HER).
Composer's notes: Marimba Heritage is an original composition that honors the history of solo marimba literature. Motives from many well-known marimba solos are woven into this new composition. While I considered numerous marimba works as I prepared to compose, the list below represents the marimba solos that inspired this music. All of these benchmark works were pivotal in guiding the pedagogical/artistic path of solo marimba literature. Marimba Heritage was commissioned by Dr. Brett Dietz and the Louisiana State University Percussion Ensemble and premiered at LSU on March 29, 2009. The work features the power and energy of marimba music that has inspired thousands of percussionists for more than 60 years."As the title suggests, this new work for percussion ensemble guides listeners through a collection of musical vignettes as it honors the history of solo marimba literature by incorporating motives from marimba works that are considered standards in the genre. The piece is scored for eight percussionists and requires two low-A marimbas, one low-F marimba, one 5.0-octave marimba, two vibraphones, one xylophone and a set of bells (played by one player), and one set of timpani. Throughout this seven-minute work, Ford quotes such familiar pieces as "Furioso and Valse" by Hatch, "Etude in C Major" by Musser, and "Velocities" by Schwanter. At no time do these musical quotes seem hokey or tawdry; this composition comes across quite tastefully as it pays homage to these "benchmark works that were pivotal in guiding the pedagogical/artistic path of solo marimba literature." All four marimba players must be well versed in four-mallet technique and musicianship to achieve performance success, but not necessarily familiar with the pieces that are quoted. The remaining players serve primarily as reinforcement, harmony, or countermelody as the marimbists effectively lead the performers, as well as the audience, through the musical voyage. This work will appeal to a broad spectrum of listeners and is sure to become a standard in percussion ensemble repertoire." - Joshua D. Smith, Percussive Notes, September 2010.

Sprint by Rob Smith. For Percussion Ensemble (Xylophone 1, Xylophone 2, Vibraphone 1, Vibraphone 2, Marimba 1, Marimba 2, Marimba 3 (4.5-octave), Marimba 4 (5-octave), Auxiliary Percussion 1, (Starting Gun or Slapstick, Vibraslap, Glockenspiel, Guiro), Auxiliary Percussion 2, (Tambourine, Vibraslap, ). Percussion Music. Difficult. Score and parts. Duration 2:45. Published by C. Alan Publications (CN.12090).
Sprint was commissioned by Dr. Blake Wilkins and the Moores School of Music Percussion Ensemble for a premiere performance at the Percussive Arts Society International Conference in Austin, Texas on November 11, 2006. The work was written to feature the ensemble's formidable keyboard technique.The innovative and highly energetic music of Rob Smith is frequently performed throughout the United States and abroad. His music has received numerous awards, including those from ASCAP and the National Band Association. He has received commissions from the Texas Music Festival Orchestra, the New York Youth Symphony, the American Composers Forum and several nationally renowned university wind ensembles, among others. He has been the recipient of a Fulbright Grant to Australia and a number of commercial recordings include his works. Currently, he teaches at the University of Houston's Moores School of Music where he is Associate Professor of Music Composition and director of the AURA Contemporary Ensemble.

Stormbreak. (for percussion octet (and optional wind ensemble)). By Jim Casella. Percussion Ensemble & Optional Wind Ensemble. For glockenspiel, xylophone, chimes, 4 timpani, bongos, congas, rainstick, vibra slap, suspended cymbal, woodblock, finger cymbal, snare drum, brake drum, hihat, ocean drum, 4 concert toms, cowbell, shaker, splash cymbal, china cymbal, tambourine, triangle, b (8 players). Medium-Easy. Score and parts on CD-ROM. 32 pages. Duration 3'30". Published by Tapspace Publications (TA.TSPCE-33).
Stormbreak was written by Jim Casella for young/intermediate ensembles as a sort of sequel to Technology - another moderately simple piece for percussion octet by Casella that has since become quite popular. Opening with nature-effect sounds, the storm breaks into a rhythmic "tip of the hat" to Technology on the rim of the snare drum. As rhythmic layers add in, the syncopated motive of Stormbreak becomes clear and continues to drive the piece throughout. Certain parts can be more challenging than others, and syncopation is above the average beginner level. However, numerous repeat bars are used, as the primary goal is to develop players' ability to understand how their parts "groove" and interact within the mix of their fellow groove-playing compadres. For more advanced players in the ensemble, solo sections are included which feature timpani, snare drum, and concert toms. Stormbreak can stand alone as a percussion octet, but it also comes with the option of being played by a full wind ensemble. During wind ensemble concerts, the percussion section can sometimes be relegated to the back. So this option acts as something of a percussion ensemble "feature" that can be programmed into wind ensemble concerts. This piece comes with a full, bound folio containing a full score with wind ensemble, and a separate score for percussion ensemble only. Also included is a CD-Rom containing reference audio recordings and all individual parts available for printing.

The Moon of Winter arranged by Vince Gassi. Orchestra. For strings w/ vln 3 and glockenspiel. Part(s); Score; String Orchestra. Belwin Intermediate String Orchestra. Christmas; Folk; Sacred; Winter. Grade 3. 76 pages. Published by Belwin Music (AP.35917).
"The Huron Carol" is Canada's oldest Christmas carol written in 1643 by Jean de Brébeuf, a Jesuit missionary. The melody is from a traditional French folk song, "Une Jeune Pucelle" (A Young Maid). Intended as a gift and teaching aid to the Huron people, Brébeuf wrote the lyrics in their native language. The Moon of Winter is a powerful and moving adaptation of this carol for strings that will enhance your next Christmas concert, adding a sense of reverence and honor.

Parade of the Wooden Warriors by Adam Gorb (1958-). For Concert Band (Full Score, Flute 1/2, Oboe, Clarinet 1/2/3, Bb bass clarinet, Bassoon, Alto Saxophone 1/2, Tenor Sax, Baritone Sax, Trumpet 1/2, F Horn 1/2, Trombone 1/2, Euphonium, Tuba, Timpani, Percussion 1 (xylophone, glockenspiel, cymbals, bass drum), Percussion 2 ). Band Music. Grade 2.5. Score and parts. Duration 2:40. Published by C. Alan Publications (CN.R10204).
"Parade of the Wooden Warriors" is a three minute piece aimed at school and community wind ensembles. It describes the advance and retreat of an imaginary army in ancient times. The composer attempted to give the music the flavor of a Renaissance dance with the main melody in the Dorian mode and the harmony moving largely in consecutive fifths.

Radetsky March by S. Johnson. Arranged by Stuart Johnson. For Concert Band (flute 1/2, oboe, clarinet 1/2, /3, Bb bass clarinet, alto sax 1/2, tenor sax, baritone sax, trumpet 1/2, F horn 1/2, trombone 1/2, euphonium, tuba, percussion 1 (glockenspiel) percussion 2 (2, players) (snare drum, bass drum, suspended cymbal, triangle)). Band Music. Grade 2. Score and parts. Duration 3:30. Published by C. Alan Publications (CN.R10101).
Radetsky March is probably the most famous piece by Johann Strauss the elder. His other claim to fame was as the father of three sons, all composers, of whom the middle son (also Johann) was to become world famous for his Waltzes and Polkas. Father Strauss (1805-1849) was a fine Viennese violinist and he composed the 'Radetsky' in the year before he died. It caught on immediately and became famous as a symbol of the might of the Habsburg monarchy.